emulsion; and I think he claimed for an emulsion prepared with it that
the image would stand more forcing without fogging to gain any amount
of intensity. This was said of a collodion emulsion, and I also find
that it is the same when used in a gelatine emulsion. I have heard a
great many say, when speaking about the intensity of gelatine plates,
that they can get any amount of intensity. I grant that in a studio
where the operator has full command over the lighting of his subject
by means of blinds, but it is not so in the field, especially when the
light is dull. I have seen thousands of negatives, and as a rule I
have found want of intensity has been the fault, and generally through
the light. Now if we can find a remedy for this, it will be a step in
advance.

What I claim for bromide of zinc is that a rapid plate can be made
with it, and any degree of intensity can be readily obtained with a
very small proportion of pyrogallic acid in the developer. The cry as
always is to use plenty of pyrogallic acid and you can get any amount
of intensity. I remember, in the early days of gelatine, as much as
six grains being recommended, and I have myself, under extraordinary
circumstances, used as much as ten grains to the ounce; but I think it
is now, to a certain extent, a thing of the past. With the plates to
which I refer, I found that I only required to use for a 7½ × 5 plate
one grain of pyrogallic acid in about three ounces of developer to get
full density without the slightest difficulty. If the ordinary
quantity were used far too much density was obtained, and the plate
ruined beyond recovery; but with so small a quantity of pyro. the
plate was not so much stained as with a larger quantity, and the
negative took far less time to develop on account of the intensity
being so readily obtained.